related works

Carl's Lament : for chamber orchestra / Brendan Faegre; text by Brendan Faegre

Genre: Vocal music
Subgenre: Speaking voice and large ensemble
Scoring: stem 2fl 2ob 2cl 2sax-a 2fg 2h 2tpt trb 2perc str

If the camels don't get you, the fatimas must : for solo violin, 1986 / Chiel Meijering

Genre: Chamber music
Subgenre: Violin
Scoring: vl

Sonate : voor viool solo / Sem Dresden

Genre: Chamber music
Subgenre: Violin
Scoring: vl

Troost voor Daisy : voor viool solo, 2004 / Guus Janssen

Genre: Chamber music
Subgenre: Violin
Scoring: vl

composition

Lys-slått : for baroque violin / Brendan Faegre

Other authors:
Faegre, Brendan (Composer)
Description:
J.S. Bach has been speaking to me since before I was born. From my father playing the cello suites throughout childhood, to now passing the 1-year marker in my relationship with a baroque violinist, Johann's whisperings were no longer avoidable: "...write a piece for baroque violin..." Those words may have actually come from Lucia, but regardless, the intention was set. When I began exploring Norwegian folk music, the similarities between the two styles struck me in their use of ornamentation, vibrato, and unequal temperament, which led to the creation of this work.
In composing Lys-slått, I sought foremost to meld the poignant intonation and gestures of the Norwegian Hardanger fiddle tradition with elements of baroque string writing. I drew inspiration from J.S. Bach's astute writing for the violin in his solo sonatas and partitas, from the early Italian baroque habit of creating form through an alternation of contrasting sections, and from the unique physical characteristics of a baroque violin. The dark, rich gut strings are naturally well-suited to harmonics; a short, light bow prefers frequent articulation and allows for virtuosic right-hand speed; and a lower bridge is more conducive to double-stops. Aiming to draw on the strengths of the early music performer who is trained to perform in unequal temperaments, I expanded the intonation of folk music from the Telemark region into microtonal harmonies that permeate the piece. My own love of color, pulse, and rhythmic play found its way into the piece as well.